Learn Blues Guitar

Learn Blues Guitar: Free Report Shows How to Use the Blues Scale and Blues Chords to Play Awesome Blues Guitar

To receive your FREE copy of “How to Play Blues Guitar Using The Blues Scale” including the BONUS Section “How to Play Blues Using Blues Chords” please enter your details below:
how to play blues using the blues scale For a FREE copy of my Special Report “How to Play Blues Using The Blues Scale” please just enter your name and email address in the details box and I’ll email you a copy straight away.

Here’s what you’ll learn when you download your FREE copy of “How to Play Blues Using The Blues Scale“:

How to Play The Minor Pentatonic Scale– I’ll show you the 5 different ‘shapes’ you’ll find on your guitar fretboard and how to play the blues using the Minor Pentatonic in any key.

When to play and improvise blues licks and solos using the blues Minor Pentatonic Scale.

What makes The Blues Scale different from the Minor Pentatonic – it’s only one note but it makes all the difference and will give your playing that authentic bluesy sound.

How to play and improvise blues solos and licks in any key using The Blues Scale – when you’re familiar with the shapes you’ll be able to play in any key quickly and easily.

The Major Pentatonic Scale – The Minor Pentatonic is great for improvising licks and solos but sometimes you just want to add that little bit of something different. I’ll show you the Major Pentatonic Scale and how to play it – when you can play the Minor Pentatonic Scale then playing the Major will be easy as well….it’s the same shape! I’ll show you how you can easily find it on your fret board.

When to use the Major Pentatonic Scale – there are times during a blues progression when using the Major Pentatonic sounds good and times when it doesn’t. I’ll give you a tip on when to use it.

PLUS BONUS SECTION – How to Play Blues Uisng The Blues Scale includes a bonus section – “How to Play Blues Using Blues Chords” in which I’ll show you:

Blues Chord Progressions and Patterns. I’ll show you how blues is structured using a typical chord progression and pattern including….

The 12 Bar Blues. I’ll show you the blues chord progressions and patterns which make up a 12 bar blues

Basic Blues Chords. I’ll show you which chords in which key are used in a typical blues and 12 bar blues progression.

The Chords Which Make Blues Sound Bluesy. I’ll show you one of the major chord variations which gives blues it’s distinctive sound.

How Blues Chords are Made and Played. I’ll show you how to play these bluesy chords in two different keys, including the key which is arguably the key most often used by blues players.

And I’ll even give you an easy alternative, with ‘easy blues chord’ shapes which anyone can play but which always sound good To receive your FREE copy please enter your details below

Joe Bonamassa – From Child Prodigy to Modern-Day Blues-Rock Hero

Joe Bonamassa is considered by many to be the top blues guitarist of the present generation.  While most musicians his age draw influences from the ‘80s and ‘90s bands they grew up with, Bonamassa grew up listening to his parents’ classic rock records, a great foundation for any budding blues-rocker.  His solo career may just be little more than a decade old, but since 2000, Bonamassa has released a whopping 15 albums (eleven in the studio, four live) and three concert DVDs.  Indeed, this relatively young man has achieved as much in 12 years as most older musicians would in a lifetime’s worth of recorded music.

Joe Bonamassa was born on May 8, 1977 in New Hartford, New York as a fourth-generation musician.  It was his parents who first exposed him to rock music and the electric guitar.  Bonamassa first learned to play guitar at the age of 4, and three years after that, he was copying his heroes’ intricate leads perfectly.  And take note these weren’t any ordinary musical heroes, but the likes of Jimi Hendrix and Stevie Ray Vaughan.  The child prodigy would open for legends such as B.B. King and Danny Gatton in the late ‘80s, and his own blues band, Hot in the Shade, became regulars in the New York gigging scene.  As a teenager, Bonamassa joined the band Bloodline, which featured the sons of several famous musicians – rhythm guitarist Waylon Krieger (the Doors’ Robby Krieger), bassist/lead vocalist Berry Oakley Jr. (the Allman Brothers’ Berry Oakley Sr.) and drummer Erin Davis (Miles Davis).  Bloodline disbanded soon after their self-titled 1994 debut, but it was clear that lead guitarist Bonamassa was the star of the band, despite not having a famous dad like his bandmates.

Six years later, Bonamassa, now 23 years old, released his solo debut, A New Day Yesterday, which was quickly followed up by So, It’s Like That, which topped the Billboard Blues album charts in 2002.  Unlike other “young guns” like Jonny Lang and Kenny Wayne Shepherd, Bonamassa offered fans more than just a straight-up interpretation of the blues.  With a voice reminiscent of the Allman Brothers’ Gregg Allman and a sound redolent of ‘70s classic rock, Bonamassa had found his niche as one of the youngest and hardest blues-rockers in the scene.  Though not as well-received as his first two releases, Blues Deluxe (2003), Had to Cry Today (2004) and You and Me (2006) also impressed most reviewers and helped solidify Bonamassa’s status as the “pre-eminent bluesman of his generation.”

 The next few albums – Sloe Gin (2007), The Ballad of John Henry (2009), Black Rock (2010) and Dust Bowl (2011) – would feature more experimentation, with a more distinct touch of American blues, country and folk music.   A new album, Driving Towards the Daylight, was released just last month, again earning positive feedback from fans and reviewers alike.  With its usual mix of interesting cover material and brilliant compositions, Driving Towards the Daylight proves that Joe Bonamassa, just 35 years old, has no plans of slowing down nor forsaking the British blues influence that has been the guiding force throughout his career.  With recent collaborations such as the all-covers album Don’t Explain (with Beth Hart) and the supergroup Black Country Communion (with Glenn Hughes, Jason Bonham and Derek Sherinian), there doesn’t seem to be an idle moment in Joe Bonamassa’s career.

Howlin’ Wolf – The Loudest (and Largest) Man in Chicago Blues History

If he didn’t scare the heck out of you, he’d make a lifelong fan out of you instead.  That’s perhaps the best way to describe the legacy of Chester Arthur Burnett, better known as Howlin’ Wolf.  With his imposing size and extremely loud vocal delivery, Howlin’ Wolf was not somebody you would want to trifle with.  At 6’6”, he was tall enough to be a professional basketball player, and at 300 pounds, big enough to play professional football.  But he was a superstar in a totally different field altogether – the Chicago blues scene of the ‘50s and ‘60s. 

Chester Burnett was a product of White Station, Mississippi, where he was born on June 10, 1910 and named after the 21st President of the United States, Chester A. Arthur.  He got his stage name from his grandfather, who would frequently warn him about the “howling wolves” in the wild, in an effort to get him to behave.  At the age of 13, Chester was on his own, having ran away from his abusive uncle – a few years earlier, his own mother threw him out for being lazy.  A deeply religious woman, Gertrude Burnett had a contentious relationship with her son even when he became a successful bluesman – to her, the blues was the sound of Satan.

Howlin’ Wolf got his unique shouting style after several failed attempts to imitate country legend Jimmie Rodgers’ yodeling vocals.  But it was bluesmen such as Blind Lemon Jefferson and Sonny Boy Williamson II who served as a greater influence when Wolf started playing professionally.  At the age of 41, after years of criss-crossing the South as an itinerant musician, Howlin’ Wolf was signed to Memphis Recording Service, a recording label owned by one Sam Phillips.  In a few years, this label would become Sun Records and give birth to some of the first and greatest rock and roll recordings ever.

After a brief, moderately successful run in Memphis, Wolf moved to Chicago in 1953.  A year later, Wolf recruited guitarist Hubert Sumlin from the Memphis scene.  Sumlin would become Wolf’s closest co-contributor, playing on songs such as “How Many More Years” and “Smokestack Lightning.”  These two songs gave Wolf his biggest successes to date on the R&B charts, both peaking inside the Billboard R&B Top Ten.    Wolf’s self-titled 1962 album featured the songs “The Red Rooster”, “Spoonful” and “Back Door Man.”  These songs would eventually be covered by the Rolling Stones (as “Little Red Rooster”), Cream and the Doors respectively, firmly certifying Wolf as a big influence on a new generation of largely white rock and roll combos.

Wolf was unique among American bluesmen of his era, as he mostly strayed clear of the usual temptations that prematurely end a musician’s career.  He spent his money wisely, shunning expensive automobiles and other creature comforts in order to provide for his family and sidemen alike.  Still, his health began to fail in the late ‘60s, suffering several heart attacks and damaging his kidneys in an unfortunate car accident.   Wolf died on January 10, 1976, exactly five months shy of his 66th birthday, at the Veterans Administration Hospital in Hines, Illinois.  Howlin’ Wolf’s music and influence still lives on, and it’s not just through the music of the bands and singers he influenced.  Every year, West Point, Mississippi is home to two tribute events – the Howlin’ Wolf Memorial Blues Festival and Wolf’s Juke Joint Jam.